Composer and lyricist Stephen Sondheim, was definitely not thinking “happily ever after” when he created the fairy tale musical “Into The Woods” with book writer, James Lapine. Rather, the work was posed as a warning for grown-ups: Be careful what you wish for, they seemed to advise, your dreams might just come true.

Since its 1987 premiere on Broadway, “Into The Woods” has become one of the most widely produced of the Sondheim repertory, but its pleasures are not for children. Spiro Veloudos, director of the current production at Lyric Stage, has emphasized the shadows and dark places of the heart in a nearly three-hour long chronology of the lives (and many deaths) of the characters who venture too far from home. It's an adult, X-rated twist on Disney, but not without its charms for Sondheim fans.

At lights up we meet, in rapid succession, Cinderella and her nasty step-family; Jack, his mom and a large, white cow; Little Red Riding Hood (the wolf shows up later); Rapunzel in her tower; a Baker and his Wife, with a Witch of a next door neighbor who has a rather long memory. Each of these fabled characters has a wish but must follow a quest to fulfill it; none of them will remain unscathed by the end. The cat's-cradle of intersecting plot-lines is roiled by cross-purposes, greed and various bad deeds, before Fate, in the person of a large, vengeful giant, takes charge.

The woods, of course, are a metaphor for the world where dangers lurk around every tree trunk. Scenic designer David Towlun has created as literal a depiction of a forest as can be wedged onto the small stage of the Lyric, aided greatly by Elisabetta Polito's wardrobe of costumes. I especially admired Little Red Riding Hood's second cloak, flaunting the emblem of Wolf on her sleeve, like she had won the Purple Heart or Medal of Honor.

Wrestling Sondheim's far-flung, multi-person musical on stage is no easy task. Luckily, Veloudos found a secret weapon to help him - music director Catherine Stornetta, one of the best in the business. Under her inspired guidance, the show delivers the most important component in a Sondheim work: the sounds of the music. Stornetta on the keyboard, leading an orchestra of six other musicians, has produced an exemplary choral resonance from the ensemble and leading players.

As we've come to expect from their previous roles, Aimee Doherty turns in a memorable performances as the ugly Witch who transforms into a chickie-baby worthy of a Las Vegas chorus line; Erica Spyres appears as a winsome Cinderella, chirping to her friends the birds and later turning petulant as the unhappy princess. Will McGarrahan takes the role of the trusty narrator-guide to the pitfalls that lay on their paths. Lisa Yuen is splendid as the bright-eyed Baker's Wife, leading her clueless husband on the treasure hunt ordered by the Witch. John Ambrosino gives his most assured performance yet as her hapless mate who grows in wisdom before our eyes. Gregory Balla as Jack is endearing as an eternal Peter Pan, resisting responsibilities by escaping up the beanstalk.

Page 2 of 2 - At the press opening, the show still had some bumpy spots, especially in the episodic second act. However, the opening scene of Act II is a well-staged marvel of surprise, jolting us from expectations of a happy ending to the more believable human craving of wanting more. As the landscape turns bleak, Sondheim warns us to open our eyes, prepare for the worst, and hope that the giant misses our house as she stomps through the neighborhood.